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Journal articles on the topic 'Blanchot'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 July 2024

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1

Watt, Calum. "The Uses of Maurice Blanchot in Bernard Stiegler's Technics and Time." Paragraph 39, no. 3 (November 2016): 305–18. http://dx.doi.org/10.3366/para.2016.0203.

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This article argues that Maurice Blanchot is a significant presence in Bernard Stiegler's Technics and Time series. The article first sets out Stiegler's invocation of the Blanchotian ‘change of epoch’ in the first volume, which attempts to situate Blanchot within the horizon of technics. I argue Blanchot's disaster is a hidden element in Stiegler's play on the motifs of the star and catastrophe. The article then traces how these motifs emerge in the second and third volumes, in which the technical forms of photography and cinema become more important and where the motifs are woven together through reference to works by Roland Barthes, D. W. Winnicott and Federico Fellini. Stiegler filters these references to apparently disparate figures through Blanchot's analyses of writing and temporality. Tracing both overt and unacknowledged references to Blanchot in Stiegler's text, I conclude that Stiegler's use of Blanchot destabilizes his conceptions of time and epochality.

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2

Shuling Tsai, Stéphanie. "Traduire jusqu’au point de non-pouvoir : approche de l’engagement blanchotien." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 3 (March 21, 2011): 113. http://dx.doi.org/10.21992/t9h05t.

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In the early 60’s, Blanchot participated with a group of European intellectuals in the process of conceptualizing an international journal based on translation. In our intent to inquire into Blanchot’s approach of « engagement » in the course of the project, the present study will examine differences between Blanchot and Levinas in regards to the notion of « non-pouvoir », which directs the task of the translator towards the point of fascination or inspiration in Blanchot’s terms. The point of no-power opens possibilities to various modes of translations, questioning the limits of the subject-translator by challenging the proper form of the Original. Notre intention ici est d’aborder, à partir de la conceptualisation d’une revue que M. Blanchot a créé avec d’autres intellectuels européens au début des années soixante, une réflexion sur l’engagement blanchotien, et de centrer notre analyse sur la différence de la notion de « non-pouvoir » entre Blanchot et Levinas, le point de fascination, ou d’« inspiration » pour reprendre les termes de Blanchot. Le concept de traduction sera l’occasion pour nous d’interroger la capacité du sujet-traducteur à remettre en cause l’idée du sens propre d’un texte.

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3

Holland, Michael. "The Time of his Life." Paragraph 30, no. 3 (November 2007): 46–66. http://dx.doi.org/10.3366/para.2007.30.3.46.

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Throughout his life, contemporaries of Blanchot either sought to relegate his writing to the past, or else espoused it uncritically in a gesture akin to what Jean-Luc Nancy once called syncope. Blanchot thus divided his epoch in a way that was less a polarization than a struggle for the present in which thought takes place. Consequently, readers today in search of what makes Blanchot continue to be a contemporary find that the time of his writing is shrouded in a curiously unstable quantity of oblivion. This article argues that Blanchot's refusal of biography brings about an inaugural disruption of the temporality of rational thought. From the outset, the ‘I am’ of reflection is accompanied in his writing by an ‘I am dead’ which is narrative in nature. Jacques Derrida's work is taken to exemplify the espousal of Blanchot by his contemporaries. Despite the acuity of Derrida's analyses of the fractured present of rational discourse, however, the article seeks to demonstrate that the priority of narrative in Blanchot's thought gives rise to a temporality for which philosophy can never find the measure.

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4

Allen, William S. "Blanchot and Lautréamont." Qui Parle 29, no. 1 (June 1, 2020): 95–143. http://dx.doi.org/10.1215/10418385-8241923.

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Abstract Blanchot’s readings of Lautréamont are among the most important writings on this challenging author, and they are also crucial for the development of his own thinking, but they have never been discussed in depth. This essay surveys the whole range of Blanchot’s writings on Lautréamont and shows how they constitute the first considered attempt within his thinking to examine the notions of the fantastic and the image in relation to the experience of metaphor. This survey not only enables a renewed understanding of the significance of Lautréamont’s writings but also reveals how Blanchot transforms the Hegelian thinking of experience by way of its passage through literature.

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5

Hart, Kevin. "From the Star to the Disaster." Paragraph 30, no. 3 (November 2007): 84–103. http://dx.doi.org/10.3366/para.2007.30.3.84.

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Franz Rosenzweig's The Star of Redemption comes before the Shoah and Maurice Blanchot's The Writing of the Disaster comes after it. The one addresses itself with hope to the figure of a star; the other meditates on the state of being without a guiding star. The figure of Emmanuel Levinas stands between these two works, since Totality and Infinity is marked by Rosenzweig's critique of totality and The Writing of the Disaster is in part a response to Levinas's philosophy. Both Rosenzweig and Blanchot propose a new way of thinking, one that calls unity into question. This essay seeks to clarify what ‘thought’ means for Rosenzweig and for Blanchot. In what ways do Rosenzweig and Blanchot converge? In what ways do they diverge?

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6

Ferguson, Sam. "Maurice Blanchot: ‘Theorist’ of the Diary?" Nottingham French Studies 61, no. 2 (July 2022): 104–18. http://dx.doi.org/10.3366/nfs.2022.0346.

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Maurice Blanchot’s writing on the diary has been presented as ignorant and contemptuous of its object, and as misrepresenting the diary by focusing on its literary qualities. This article rehabilitates Blanchot as a critic and theorist of the diary, and moreover, as a pivotal figure in realising the diary’s literary potential. Blanchot’s discussion of particular diarists (including Benjamin Constant, Joseph Joubert, Søren Kierkegaard, Franz Kafka, and André Gide), together with his critical reflections, were instrumental in his creation of conceptions of literature that exerted a strong influence on the avant-garde movements of the following decades, even though these avant-gardes rejected the introspective aspect of intimate writings. Furthermore, Blanchot produced a programme for how the diary might become a literary work, which was picked up again by Roland Barthes in 1979, and casts light on experimental uses of the diary in recent decades.

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7

Hill, Leslie. "From Deconstruction to Disaster (Derrida, Blanchot, Hegel)." Paragraph 39, no. 2 (July 2016): 187–201. http://dx.doi.org/10.3366/para.2016.0194.

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Derrida's Glas (1974) found one of its most attentive readers in Maurice Blanchot, whose fragmentary volume L'Ecriture du désastre (The Writing of the Disaster) (1980) responds in a number of ways to Derrida's book, in particular to its reading of Hegel. This article retraces the silent dialogue between Derrida and Blanchot as it unfolds in the two texts mentioned as well as in several others, including some of Blanchot's earlier essays and fiction, notably La Folie du jour (The Madness of the Day) and L'Arrêt de mort (Death Sentence).

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8

Rapaport, Herman. "After Blanchot?" Paragraph 32, no. 2 (July 2009): 255–64. http://dx.doi.org/10.3366/e0264833409000583.

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9

Bident, Christophe, and Sylvia Gorelick. "Staging Blanchot." SubStance 50, no. 2 (2021): 141–55. http://dx.doi.org/10.1353/sub.2021.0023.

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10

Surya, Michel. "L'autre Blanchot." Lignes 43, no. 1 (2014): 7. http://dx.doi.org/10.3917/lignes.043.0007.

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11

Bataille, Georges. "Maurice Blanchot." Lignes 3, no. 3 (2000): 149. http://dx.doi.org/10.3917/lignes1.003.0149.

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12

Banki, Peter. "Translate - Blanchot?" Oxford Literary Review 22, no. 1 (July 2000): 178–84. http://dx.doi.org/10.3366/olr.2000.013.

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13

Holland, M. "Maurice Blanchot." French Studies 58, no. 4 (October 1, 2004): 533–38. http://dx.doi.org/10.1093/fs/58.4.533.

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14

Gutjahr, Marco. "Blanchot, critique." Études littéraires 52, no. 1 (2023): 177. http://dx.doi.org/10.7202/1102659ar.

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15

Clark, Timothy. "A Green Blanchot: Impossible?" Paragraph 30, no. 3 (November 2007): 121–40. http://dx.doi.org/10.3366/para.2007.30.3.121.

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Blanchot's work may at first seem remote from any sort of environmentalist thinking. While elements of his work share with Levinas and Heidegger a problematic privileging of the human, Blanchot nevertheless offers the basis of what might be seen as a timely ‘deeper ecological’ thinking, one that can engage the destructive anthropocentrism of Western thought and tradition in the very minutiae of its literary and philosophical texts. Unlike in much ‘green’ philosophy, no concept of nature or earth serves as foundation for Blanchot's thought. He is engaged by the ‘impossible’ as that which is not a matter of human power or decision, affirmed in both its ethical force and its contestation of dominant and appropriative conceptions of knowledge, rationality and invention. A comparison is offered between Max Oelschlager's representative ecocritical essay ‘Earth-Talk: Conservation and Ecology’, with its romantic attempt to find and celebrate modes of unalienated or ‘natural’ language, and Blanchot's practice of what can be seen as a more radical and questioning ‘ecology’ based on almost opposite conceptions.

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16

Opelz, Hannes. "The Political Share of Literature: Maurice Blanchot, 1931–1937." Paragraph 33, no. 1 (March 2010): 70–89. http://dx.doi.org/10.3366/e0264833409000753.

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From the very beginning, Blanchot's thought on literature was intimately linked to his experience and conception of politics. It is this beginning that this article sets out to explore. In particular, it examines how Blanchot's discourse, insofar as the literature/politics relation is concerned, begins to shift toward the second half of the 1930s. Initially, literature is seen as a propitious ground to prepare what Blanchot terms a ‘healthy’ politics — not in any partisan or programmatic sense but in the more fundamental sense of being the active site of what he refers to as ‘concrete’ values, that is, national, cultural and spiritual values which may call upon writers to commit themselves politically and take action to defend those values in the real world as part of an effort to stimulate national, spiritual renewal. Gradually, however, Blanchot's discourse breaks with this logic of continuity established between literature and the field of political realities. From 1937 onwards, the political element provides Blanchot, this time in the form of a revolutionary force detached from its empirical conditions, with a conceptual framework to theorize literature and to account for the violent, negating force encountered, according to him, in the literary work. As a result, it is no longer — or just — about literature contributing to a revolutionary project in the socio-political world; what is at stake, instead, is how the political, understood (conceptually rather than empirically) as a ‘force of opposition’ or negation, can contribute to literary criticism and thought by offering Blanchot a new language to explore the experience and violence of literature.

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17

Noys, Benjamin. "Political Writings, 1953-1993." Historical Materialism 19, no. 3 (2011): 196–204. http://dx.doi.org/10.1163/156920611x592436.

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AbstractThis review considers the collection Political Writings, 1953-1993 by Maurice Blanchot as a means to assess the relatively little-known political odyssey of this writer and theorist. Noting the absence of his earlier right-wing political texts from the 1930s in this collection, it attempts to probe Blanchot’s idiosyncratic ‘ultra-left’ turn represented in his texts of the 1950s and 1960s. In particular, I analyse how Blanchot develops a communism that focuses on the problem of abstraction: both the abstraction intrinsic to social reality, and the necessity to negate and contest that abstraction through a ‘communist writing’. The review reconstitutes this unusual form of Marxism, and analyses the possible resources it offers and its limits.

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18

Hill, Leslie. "‘Not In Our Name’: Blanchot, Politics, the Neuter." Paragraph 30, no. 3 (November 2007): 141–59. http://dx.doi.org/10.3366/para.2007.30.3.141.

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Readers of Blanchot have long been aware of the importance of politics in the writer's intellectual itinerary. But though the history of Blanchot's political involvements is now quite well documented (albeit frequently misrepresented to polemical ends), much remains to be understood about Blanchot's conception of the political. Prompted in part by his support for the ‘Not In Our Name’ appeal, which was to be one of Blanchot's last political gestures, this essay fragment, which is part of a longer inquiry, reconstructs the writer's thinking on the question of the subject of politics and the closely related issue of the relationship between law and violence. It examines Blanchot's response to Hölderlin's translation of a famous fragment from Pindar entitled ‘Das Höchste’ (‘The Most High’) and places Blanchot's writing within the wider context of the political thought of Benjamin, Schmitt, Agamben, and Derrida.

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19

Evans, Jonathan. "Translation and Response between Maurice Blanchot and Lydia Davis." TranscUlturAl: A Journal of Translation and Cultural Studies 4, no. 1 (April 2, 2013): 49. http://dx.doi.org/10.21992/t9hs64.

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When an author translates a text by another writer, this translation is one form of a response to that text. Other responses may appear in their own writings that are more inflected with their authorial persona. Lydia Davis translated six books by Maurice Blanchot, including fiction and theoretical writings. Blanchot’s concept of the récit privileges non-conventional forms of narrative and it can be considered to have influenced Davis, a view shared in critical writing about Davis. However, responses to his fiction can also be found in Davis’s work. This article reads Lydia Davis’s story “Story” as a response to Maurice Blanchot’s récit, La Folie du jour, translated by Davis as “The Madness of the Day”. Both texts develop a narrative that questions the possibility of arriving at a single story: Blanchot’s narrator cannot tell the story of how he came to have glass ground into his eyes, while Davis’s narrator must try to understand a contradictory story told to her by her lover. However, Davis responds to Blanchot by reversing the perspective in the story: where Blanchot’s narrator must and cannot create a story that explains his situation in a judicial/medical context, Davis’s narrator is struggling to understand her lover’s story which does not explain the situation that they find themselves in. Davis’s narrator is therefore motivated by an emotional need to find an acceptable story that is absent from Blanchot’s narrator. This difference in motivation is central to the difference between Davis’s and Blanchot’s approach, and complicates any reading of his influence on her because she responds to his text in her own.

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20

Opelz, Hannes. "Blanchot et Sartre." Les Temps Modernes 643-644, no. 2 (2007): 198. http://dx.doi.org/10.3917/ltm.643.0198.

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21

Holland, Michael, and Leslie Hill. "Blanchot: Extreme Contemporary." Modern Language Review 97, no. 1 (January 2002): 199. http://dx.doi.org/10.2307/3735658.

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22

Jaron, Steven, and Leslie Hill. "Blanchot: Extreme Contemporary." SubStance 28, no. 1 (1999): 120. http://dx.doi.org/10.2307/3685423.

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23

Kendall, Stuart, and Leslie Hill. "Blanchot: Extreme Contemporary." SubStance 29, no. 3 (2000): 134. http://dx.doi.org/10.2307/3685569.

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24

Hill, Leslie. "Blanchot and Mallarme." MLN 105, no. 5 (December 1990): 889. http://dx.doi.org/10.2307/2905160.

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25

Smock, Ann. "Listening for Blanchot." SubStance 50, no. 2 (2021): 25–44. http://dx.doi.org/10.1353/sub.2021.0016.

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26

Lacaux, André. "Blanchot et Lacan." Essaim 14, no. 1 (2005): 41. http://dx.doi.org/10.3917/ess.014.0041.

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27

Potts, Adam. "BLANCHOT AND SOUND." Angelaki 23, no. 3 (May 4, 2018): 3–9. http://dx.doi.org/10.1080/0969725x.2018.1473921.

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28

Smock, Ann. "Tranced: Melville, Blanchot." Oxford Literary Review 22, no. 1 (July 2000): 39–54. http://dx.doi.org/10.3366/olr.2000.005.

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29

PARK, Kyouhyun. "Poétique de Blanchot." Études de Langue et Littérature Françaises 121 (March 15, 2020): 67–86. http://dx.doi.org/10.18824/ellf.121.03.

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30

Holland, Michael. "Blanchot and Gandhi." Journal for Cultural Research 16, no. 4 (October 2012): 393–417. http://dx.doi.org/10.1080/14797585.2011.642110.

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31

Kuzma, Joseph D. "The Intimate Blanchot." Comparative Literature 68, no. 1 (March 2016): 18–30. http://dx.doi.org/10.1215/00104124-3462621.

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32

van Rooden, Aukje. "Kafka Shared Between Blanchot and Sartre." arcadia 55, no. 2 (November 9, 2020): 239–59. http://dx.doi.org/10.1515/arcadia-2020-2010.

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AbstractEver since their translation in the course of the 20th century, the works of Kafka have been widely appreciated by French intellectuals. Kafka’s greatest admirers include Maurice Blanchot and Jean-Paul Sartre, both of whom consider his work an exemplary illustration of their own poetical-philosophical views. This is remarkable, because Blanchot’s and Sartre’s respective views are generally conceived of as opposites. Apparently, then, these two authors who are so divergent in their philosophical views and literary criticism, as well as in their own literary works, find themselves on the same page in their appreciation of Kafka. I will argue that this shared appreciation not only reveals some unexpected points of agreement between them, but also facilitates an interesting intellectual encounter between Blanchot and Sartre in the late 1940 s. It is, we will see, only on the basis of an agreement with regards to Kafka’s work that their ways can part.

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33

Arce Álvarez, María Laura. "Translation as influence: A dialogue between Maurice Blanchot’s literary theory and Lydia Davis’ short fiction." Short Fiction in Theory & Practice 9, no. 2 (October 1, 2019): 89–101. http://dx.doi.org/10.1386/fict_00003_1.

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The intention of this article is to analyse the intertextual influence between the American writer Lydia Davis and the French philosopher and critic Maurice Blanchot. This literary dialogue occurs as a result of Davis’ experience translating Blanchot’s most relevant critical and fictional texts. Davis’ role as a translator influenced her short fiction in which she discusses the limits of the literary space and therefore constantly challenges the genre as a way of fictionalizing Blanchot’s literary theory.

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34

Keenan, Dennis King. "Blanchot and Klossowski on the Eternal Return of Nietzsche." Research in Phenomenology 48, no. 2 (June 8, 2018): 155–74. http://dx.doi.org/10.1163/15691640-12341389.

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Abstract What does it mean to say “Yes” to life? What does it mean to affirm life? What does it mean to not be nihilistic? One possible answer is the appropriation of finitude. But Klossowski argues that this amounts to a “voluntarist” fatalism. Though Klossowski draws attention to the temptation of “voluntarist” fatalism on the part of Nietzsche and readers of Nietzsche, he himself is tempted by redemption, i.e., by being redeemed from the weight of responsibility. Using the very “logic” of Klossowski’s own reading of the eternal return, Blanchot will call this possibility of redemption (on the part of Klossowski) into question. Blanchot’s reading of Nietzsche’s eternal return draws attention to that moment (within the work of Nietzsche) when death as possibility turns into death as impossibility. This weakening of the negative brings, according to Blanchot, not redemption from the burden of responsibility, but infinite responsibility.

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35

Allen, William S. "Dead Transcendence: Blanchot, Heidegger, and the Reverse of Language." Research in Phenomenology 39, no. 1 (2009): 69–98. http://dx.doi.org/10.1163/156916408x389640.

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AbstractIn this essay I will examine the development of the notion of transcendence in Blanchot's early critical writings. Doing so indicates the radical way that Blanchot reconfigures this central ontological and theological term by way of his readings of the literary use of language. In turn this exposes the essential relation between finitude and literature, something which the second part of the essay will examine by way of Heidegger's study of the myth of Er.

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36

De Oliveira Gomes, Daniel. "Blanchot ferido com fogo." Cuadernos de Literatura, no. 13 (August 13, 2013): 21. http://dx.doi.org/10.30972/clt.0133060.

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<p>O presente ensaio trabalha específicamente com a obra de um autor da filosofia e da literatura francesa pós-estruturalista, Maurice Blanchot. O artigo visa produzir urna confabulacao blanchotiana com a questao fascinante da fala, da literatura e dos sentidos do próprio autor, confessando um desespero e uma contaminacao ardente e inevitável. Aproximando-o dos paradoxos do espaco literário, queremos demonstrar metodologicamente o hermetismo do autor e o modo com o qual ele sempre colocou a filosofia contra a própria filosofia. Até que ponto Blanchot veste urna infantilidade katkiana em seu aberto compromisso com a escritura? Ler Blanchot só pode-se fazer ao gesto de um ferimento com fogo, a perda de memória que se sente ante a ameaca de um revolver carregado. Disto, trata-se o artigo.</p><p> </p>

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37

Antonioli, Manola. "Entre Blanchot et Derrida." Chimères 66-67, no. 1 (2008): 133. http://dx.doi.org/10.3917/chime.066.0133.

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38

Ettlin, Annick. "Blanchot lecteur de Mallarmé." Variations 17, no. 1 (January 1, 2011): 89–100. http://dx.doi.org/10.3726/85607_89.

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39

Paul, Zakir. "Introduction: Reading After Blanchot." SubStance 50, no. 2 (2021): 3–10. http://dx.doi.org/10.1353/sub.2021.0014.

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40

Syrotinski, Michael. "Noncoincidences: Blanchot Reading Paulhan." Yale French Studies, no. 93 (1998): 81. http://dx.doi.org/10.2307/3040732.

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41

Messina, Aïcha Liviana, and Lena Taub. "The Apocalypse of Blanchot." Philosophy Today 60, no. 4 (2016): 877–92. http://dx.doi.org/10.5840/philtoday2016113134.

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42

Champagne, Roland A., and Christophe Bident. "Maurice Blanchot: Partenaire invisible." World Literature Today 73, no. 1 (1999): 115. http://dx.doi.org/10.2307/40154503.

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43

Large, William. "Blanchot, Philosophy, Literature, Politics." Parallax 12, no. 2 (April 2006): 1–11. http://dx.doi.org/10.1080/13534640600624903.

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44

Barker, Stephen. "Derrida/Blanchot/Boltanski: Borderdiscourse." Comparatist 28, no. 1 (2004): 96–111. http://dx.doi.org/10.1353/com.2004.0011.

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45

Kalaga, Wojciech. "Blanchot: Trzecie między zaimkami." Teksty Drugie 4 (2018): 310–32. http://dx.doi.org/10.18318/td.2018.4.19.

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46

Bird, Gregory. "Nancy responds to blanchot." Angelaki 13, no. 1 (April 2008): 3–26. http://dx.doi.org/10.1080/09697250802156018.

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47

Appelbaum, David. "SONIC BOOMS IN BLANCHOT." Angelaki 23, no. 3 (May 4, 2018): 144–57. http://dx.doi.org/10.1080/0969725x.2018.1473935.

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48

Rapaport, Herman. "Fragments: Blanchot, Char, Rimbaud." Oxford Literary Review 22, no. 1 (July 2000): 94–107. http://dx.doi.org/10.3366/olr.2000.008.

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49

Sigal, Raphaël. "Non-lieu (Blanchot exposé)." Critique 838, no. 3 (2017): 258. http://dx.doi.org/10.3917/criti.838.0258.

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50

Holland, Michael. "Maurice Blanchot (1907–2003)." Paragraph 26, no. 3 (November 2003): 127–30. http://dx.doi.org/10.3366/para.2003.26.3.127.

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